The reinterpretation of this work, ten years after Nono's death, marks a stage in the evolution of a process which is primarily oral tradition, ended by the composer in the mid-sixties, and typical of A Floresta è jovem e cheja de vida and other works which interacted with tapes composed shortly thereafter ( Un volto e del mare and Y entonces comprendio). The intrinsic nature of A Floresta as an orally transmitted work rests on the fact that there never was a completed score, which is a direct result of Nono's habit of experimenting with the sound engineer and the interpreters.